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Inscriptions and Memory in the Temples of Late Antique Greece and Asia Minor
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 The Writing On The Wall: Inscriptions And Memory In The Temples Of Late Antique Greece And Asia Minor Anna Marie Sitz University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Classics Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Sitz, Anna Marie, "The Writing On The Wall: Inscriptions And Memory In The Temples Of Late Antique Greece And Asia Minor" (2017). Publicly Accessible Penn Dissertations. 2886. https://repository.upenn.edu/edissertations/2886 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2886 For more information, please contact [email protected]. The Writing On The Wall: Inscriptions And Memory In The Temples Of Late Antique Greece And Asia Minor Abstract This dissertation documents late antique (fourth to seventh century CE) Christian responses to earlier, pagan inscriptions at sanctuaries, as seen in the archaeological record. I argue that Christians in Greece and Asia Minor neither ignored nor unthinkingly destroyed older inscriptions, but rather were generally tolerant toward these legible reminders of the pagan past, selectively editing them only occasionally. In order to clarify the types of inscriptions that Christians encountered on temple walls and architraves, I have assembled the first catalog of inscriptions on temples, which er veals that the majority of texts inscribed on sacred structures between the seventh century BCE and the third century CE were, counterintuitively, not about religion, but rather civic matters: political privileges, economic/territorial rights, and elite social structures. -
Guide to the Pergamon Museum
HE PERGAMON MUSEUM which was built according lan 'ritz f u e e to the p of Wol f, nd r the sup rvision of e u 1 8 a e 1 8 . Max Hasak , was b g n in 97 , nd finish d in 99 1 0 1 It was not, however, until the end of the year 9 , that r the collection was completely arranged . The pu pose which governed the plan of the Museum was the erec tion of a building in which the frieze of the Great Altar e e of P rgamon might find , as nearly as possibl , its original setting and light . The result is a large rectangular room e ea with the Great Altar in the middl , l ving a broad passage for the inspection of the frieze as well as of the statues and important inscriptions set up along the out . e rm side wall The spac within the altar, fo s a room of great altitude especially adapted to the exhibition of e e ce architectural exampl s , where ar pla d not only frag a ments of the most import nt buildings of Pergamon , but also those from Priene and Magnesia on the Maeander . O ller River utside this room is another broad ga y, e a a e a corr sponding to the pass ge bov , cont ining other i me i important statues and inscript ons from the sa cit es, for which there is not space in the chief colle ctions already mentioned . It is accessible to persons making a e D rect r sp cial study of the subject, by applying to the i o 6 s f of the Museum . -
Portable Ruins
Portable ruins The Pergamon Altar, Heinrich Wölfflin, and German art history at the fin de siècle ALINA PAYNE Archaeological discoveries have always moved hand The list of such interactions is long. A particularly in hand with the architectural imagination. Indeed, spectacular case was the effect of the physical lifting of as is well known, the discoveries of Pompeii and the Hellenistic Pergamon altar from Turkey in 1879 and Herculaneum in the mid-eighteenth century provided its parachuting into post-unification Berlin. Paradoxically, one bookend for neoclassicism while the Aegina where the discovery led in terms of the arts, especially marbles, brought to Munich in 1818 after being restored architecture, has attracted less attention than its more by Thorvaldsen in Rome and exhibited in Leo von famous, earlier counterparts. To be sure, by the later Klenze’s Glyptothek from 1830 onward provided the nineteenth century, such large-scale plundering and other.1 This was certainly no new modern development lifting of artifacts was a relatively common procedure. in cause and effect, for the whole Renaissance was a As empires grew, and as industry and economic power response to the fragments of ancient literary and material expanded commensurately, so did the desire to transform culture that eager humanists and antiquarians turned national museums into temples of learning to showcase up. The discovery of the House of Nero (domus aurea) the imperial cultural attainments. In this respect, the in sixteenth century Rome inspired a generation of German drive to acquire the identity of Kulturnation is a Renaissance painters and architects—Raphael, Giulio well-established example, but it was certainly not alone. -
1900 Yılına Kadar Pergamon Kazılarının Tarihçesi History of The
HISTORY OF THE EXCAVATIONS AT PERGAMON UP TO 1900 “O kadar yüce ve muhteşem bir eser ki… Dünyaya bir kez daha bahşedilmiş gibi!” (C. Humann 1880) 1900 Yılına Kadar Pergamon Kazılarının Tarihçesi “A work so grand and magnificent ... had been restored to the world!” (C. Humann 1880) History of the Excavations at Pergamon up to 1900 URS ULA KÄSTNER* Pergamon kenti, antik dönemden sonra da kesintisiz Owing to continuous occupation since an- olarak yerleşim gördüğünden, hiçbir zaman tarihin karan- tiquity, Pergamon – today Bergama – has never been completely forgotten (Conze et al. 1912: lığına gömülmeden bugünkü Bergama olarak varlığını sür- 1-2; Radt 1999: 11-15). Cyriacus of Ancona re- dürmüştür (Conze vd. 1912: 1-2; Radt 1999: 11-15). Ancona’lı corded the journeys he made to Pergamon in Cyriacus, 1431 ile 1444 yılları arasında yapmış olduğu se- 1431 and 1444 in his commentaries. In the 17th yahatinin kayıtlarında Pergamon’dan da bahseder. 17. ve and 18th century Pergamon had become a desti- 18. yüzyıllarda Pergamon, Avrupalı elit tabakanın mutlaka nation for European antiquaries, some of whom seyahat etmek istedikleri yerlerden biri haline geldi. Zeus took panels of the Pergamon frieze to England and other antiquities to Paris. Sunağı’na ait kabartma levhalarının İngiltere’ye ve diğer an- Of decisive importance, however, was the visit tik parçaların Paris’e götürülmesi bu seyyahlarla başladı. by the German engineer Carl Humann (Schuch- Tüm bunların içinde en önemlisi, Alman mühendis hardt – Wiegand 1931; Schulte 1971; Schulte Carl Humann’ın 1864/1865 kışında Bergama’ya yapmış 1974; Kästner 1986, 16; Dörner – Dörner, 1989; olduğu seyahattir (Fig. -
Gallus' Grynium and Virgil's Cumae
Digital Kenyon: Research, Scholarship, and Creative Exchange Faculty Publications Classics 1978 Gallus' Grynium and Virgil's Cumae Clifford Weber Kenyon College, [email protected] Follow this and additional works at: https://digital.kenyon.edu/classics_pubs Part of the Classics Commons Recommended Citation Weber, Clifford, "Gallus' Grynium and Virgil's Cumae" (1978). Mediterraneus 1. Faculty Publications. Paper 15. https://digital.kenyon.edu/classics_pubs/15 This Article is brought to you for free and open access by the Classics at Digital Kenyon: Research, Scholarship, and Creative Exchange. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Digital Kenyon: Research, Scholarship, and Creative Exchange. For more information, please contact [email protected]. ANNUAL REPORT OF THF. COLJ..EGIUM MEDITERRANISTARUM MEDJITJEIRRANJEU§ TI Articles ------------ - -- - - Von Osten nach W csten- W anderung und Verwandlung von V ergils Aeneas Tsuneo NAKAYAMA 3 La prose d'art chez Herodote Hdt. 1. 201-216 Atsuko HOSOI 21 ------------------- Gallus' Grymum and Virgil's Cumac Clifford WEBER 45 Untersuchung der auf weissgrundigcn Lckythen dargestellten Grabmaler Norio NAKAYAMA 77 ------------- - - - - -- - - Simone Weil et sa conception de le sphere de civilisation mediterraneenne Tamotsu TANABE 131 Book Review E. H. Gombrich, Heritage of Apelles Tokiko SUZUKI 149 COLLEGIUM MEDITERRANISTARUM 1978 I GALLUS' GRYNIUM AND VIRGIL'S CUMAE(*) Clifford Weber I As every schoolboy used to know, Italia is one of the first words in the Aeneid. Prominent by virtue of this fact alone, it stands out even more on account- of its enjambment, line-position, and polysyllabicity. Thus, strong emphasis is placed on Italy from the very beginning of the Aeneid, and the reason why is clear. -
Ea R Ly Ex Cavat I O N S at P E Rgamo N an D Th E Ch
H E S PE RIA 7I (2002) EA R LY EX CAVAT I O N S Pages295-324 AT P E RGAMO N AN D TH E CH RONOLOGY OF RHODIAN AMPHORA STAt/\PS AB STRACT The chronologyof Rhodianamphora stamps depends heavily on a collection of roughly900 stampsfound at Pergamonin 1886,known as the Pergamon Deposit.Most of the Rhodianeponyms in this groupare dated to ca. 21F 175B.C. Twopoints of historicalinterpretation are fisndamental to thesedates: good relationsbetween Rhodes and Pergamonat that time, and Rhodian garrisoningof Knidosbetween 188 and 167. Neitherinterpretation, how- ever,withstands scrutiny.The archaeological and topographic contexts ofthe PergamonDeposit, hitherto ignored, are used here to arguefor a closingdate in the late 160sor early150s, and the widerimplications for Hellenisticce- ramicchronologies are explored. The recent,revised publication of theso-called Pergamon Deposit, an in- fluentialcollection of Hellenisticstamped amphora handles, prompted the presentreconsideration of the deposit'srole in the studyof amphora stamps,their chronology, and the study of ancienttrade. Christoph Borker andJohannes Burow's Die hellenistischenAmphorenstempel aus Pergamon (PF 11)included, as Borker'shalf of thevolume, a newpublication of the collection,which was first published by CarlSchuchhardt in 1895.1Soon afterSchuchhardt's publication, the depositproved to be of considerable importancefor developingthe chronology,first, for Rhodianstamped 1. Borker1998; Schuchhardt 1895. drafts,and I hopethis finalproduct the PergamonDeposit is basedon a The presentarticle